Cyfrowa Etnografia

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Part of Summary of articles / Polska Sztuka Ludowa - Konteksty 1980 t.34 z.2

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S U M M A R Y OF
A l e k s a n d r a
J a c h e r-T y s z k o w a
—
ICONO­
G R A P H Y OF T H E R E P R E S E N T A T I O N OF T H E VIR­
G I N OF C A N D L E M A S I N G R A P H I C A R T A N D
FOLK
PAINTING
T h e Feast of t h e V i r g i n o f C a n d l e m a s
(February,
2th) g e n e t i c a l l y c o n n e c t e d w i t h p u r y f i n g e n g r a v i n g s m
Greek a n d R o m a n t r a d i t i o n on w h i c h t h e C h r i s t i a n
feast o f t h e M e e t i n g w i t h S i m e o n ( G r e e k „ H y p a p a n t e " ) ,
c a l l e d p u r i f i c a t i o n or t h e P r e s e n t a t i o n was
imposed.
T h e i c o n o g r a p h y of t h e s u b j e c t w a s c h a n g i n g , f r o m
t h e r e p r e s e n t a t i o n o f t h e V i r g i n w i t h C h i l d i n U;.e
g r o u p of p e o p l e a c c o m p a n y i n g S i m e o n i n t h e T e m p l e ,
t h r o u g h exposing the f i g u r e of S i m e o n to separation
of t h e V i r g i n as t h e Q u e e n o f H e a v e n . I n t h e 19th
c e n t u r y p o p u l a r r e p r e s e n t a t i o n s t h e f i g u r e of S i m e o n
d i s a p p e a r e d c o m p l e t e l y ; r e m i n d o n l y t h e a t t r i b u t e s of
t h e P r e s e n t a t i o n — p i g e o n s i n a b a s k e t a n d a censer
( r e d u c e d m o t i f of t h e T e m p l e ) .
The folk variations resulted f r o m the t r a n f o r m a t i o n s of g u i l d p a i n t i n g s . A n u m b e r o f p a i n t i n g s f r o m
t h e 2 n d h a l f of t h e 19th c e n t u r y h a v e b e e n f o u n d i t !
t h e v i l l a g e s i n t h e C r a c o w area. T h e y a r e n o t s i g n e d .
I t is o n l y t h e c e n t r a l l y p l a c e d , h i e r a t i c i m a g e of t h e
V i r g i n w i t h C h i l d in swaddling-bands and a b u r n i n g
candle t h a t remained f r o m the iconographie p r o g r a m m e
of t h e M e e t i n g w i t h S i m e o n . T h e c a n d l e c a l l e d C a n d ­
l e m a s is a d o r n e d b y a b o u q u e t o f f l o w e r s . T h e h e a d
o f t h e V i r g i n is e n c i r c l e d b y t h e c r o w n of s t a r s o r
flowers.
T h e r e m a i n i n g a t t r i b u t e o f c a n d l e is c o n n e c t e d w i t h
its r o l e i n rites and magic. I n Poland, the candlemas
w a s u s e d i n r i t u a l p u r i f i c a t i o n of w o m e n a f t e r d e l i ­
v e r y a n d i t w a s l i t a t t h e b e d of t h e d y i n g i n o r d e r
to secure God's W i l l . M o r e o v e r , i t was b e l i e v e d t h a :
the candlemas protects against wolves and lighting?.
I t was u s e d also t o , , c h a r m a w a y " a n i l l n e s s , t o c u r e
c a t t l e a n d p e o p l e of t h r o a t a c h e . I t s usage w a s e x t e n ­
ded to w e a t h e r and h a r v e s t d i v i n a t i o n ; after a l l , the
feast o f t h e V i r g i n o f C a n d l e m a s w a s i t s e l f o f a d i v i n a t i n g character.
W h i l e t r a c i n g t h e e v o l u t i o n of t h e s u b j e c t i n g u i l d
p a i n t i n g a n d i t s f o l k v a r i a t i o n s t h e a u t h o r m a k e s use
of i l l u s t r a t i v e m a t e r i a l analysing p a r t i c u l a r represen­
tations.
K r z y s z t o f
K u b i a k
CHRIST'S G R A V E

—

GUARD

HELD

AT

T h e c u s t o m of c o n s t r u c t i n g C h r i s t ' s G r a v e durinç
E a s t e r is v e r y p o p u l a r i n P o l a n d . I n n u m e r o u s v i l l a ­
ges, f r o m G o o d F r i d a y t i l l t h e R e s u r r e c t i o n s e r v i c e , g u ­
ards, called sometimes the „Turks", are h e l d at Christ's
g r a v e . T h e g u a r d s , u s u a l l y o r g a n i s e d as m i l i t a r y u n i t s
commanded
m o s t f r e q u e n t l y a n o n c o m i s s i e n t of t h e
reserve, wear d i f f e r e n t u n i f o r m s a n d c a r r y d i f f e r e n t
arms.
T h e descriptions of t h e g u a r d s ' costumes a n d t h e i r
d r i l l w e r e p u b l i s h e d i n t h e „ W i s ł a " a t t h e e n d of t h e
19th c e n t u r y .
T h e o r i g i n of t h i s c u s t o m r e m a i n s u n k n o w n , a l ­
t h o u g h i t s r o o t s c a n be s o u g h t i n t h e E a s t e r m i r a c l e
plays, i n the r i t u a l s of t h e D i v i n e G r a v e O r d e r , or
i n t h e legends connected w i t h t h e T a r t a r i n v a s i o n ( i n
m a n y a v i l l a g e t h e g u a r d s ' c o s t u m e s r e m i n d of o r i e n ­
t a l dress). I t m a y be a case o f a s y m b o l i c t r a n s f e r of
t h e t i m e a n d space of t h e R e s u r r e c t i o n i n t o t h e t i m e
a n d space i n w h i c h t h e m i r a c l e p l a y w i t h t h e p a r t i ­
c i p a t i o n of t h e g u a r d s is t a k i n g p l a c e .
A c t u a l l y t h e u n i t s m o s t f r e q u e n t l y dress u p i n t h e
f i r e b r i g a d e u n i f o r m s or t h e y w e a r costumes r e m i n ­
d i n g o f t h e u n i f o r m s f r o m t h e t i m e s o f t h e Kościuszko
Insurrection, the Warsaw Duchy, the November
Upri­
s i n g o r t h e R e v o l u t i o n of 1848. T h e d r i l l d e p e n d s on
t h e l o c a l t r a d i t i o n a n d so does t h e n u m b e r o f t h e
g u a r d s w h i c h v a r i e s f r o m 12 to 60 people.
Colourful descriptions, both the contemporary and
h i s t o r i c a l ones, c o m e m a i n l y f r o m t h e R z e s z ó w d i s t r i c t .
I t is also k n o w n t h a t t h e y o c c u r r e d i n t h e d i s t r i c t s o f
Łódź a n d Cracow, i n M a z o v i a a n d Samogitia.

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ARTICLES
B a r b a r a B a z i e 1i c h — FOLK EMBROIDERY
ON
PARTS
OF
REGIONAL
COSTUMES
(SOME
RE­
MARKS
AFTER
THE
COMPETITION
IN
TORUN);
A l e k s a n d e r B ł a c h o w s k i — R E M A R K S ON THE
REVIEW OF THE COMPETITION
OF F O L K
EMBRO­
IDERY
I 1977 t h e E t n o g r a p h i c M u s e u m i n T o r u ń o r g a n i ­
sed t h e a l l - P o l i s h o p e n c o m p e t i t i o n o f f o l k
embro­
i d e r y , t h e a i m of w h i c h w a s , a m o n g o t h e r s , t o l e a r n
a b o u t t h e l e v e l o f p r e s e r v a t i o n of t h e t r a d i t i o n of t h e
a u t h e n t i c f o l k e m b r o i d e r y . I n t h a t respect, t h e c o m p e ­
t i t i o n concerned o n l y t h e e m b r o i d e r y o n t h e parts of
costumes, whereas a l l t h e a d a p a t a t i o n s m a d e on the
basis o f t h e r e g i o n a l e m b r o i d e r y f a s h i o n o n t h e d e ­
m a n d of t h e t o w n p o p u l a t i o n w e r e n o t t a k e n i n t o
consideration.
T h e d i s c u s s i o n of t h e c o m p e t i t i o n r e s u l t s b y B . B a ­
zie] i c h is p r e c e d e d b y a b r i e f c h a r a c t e r i s t i c s o f t h e
embroidery, both occurring and declined, typical for
v a r i o u s r e g i o n s o f P o l a n d ( K a s z u b y , K u r p i e , Puszcza
Biała, W i l a n ó w n e a r W a r s a w , t h e d i s t r i c t s of: Ł o w i c z ,
Rawa,
Opoczno,
Piotrków, Żywiec, Cracow,
Biłgoraj,
Lasowiec, L i m a n o w a , Łąck, Szczawnica, a n d i n Silesia,
P o d h a l e , Spisz, O r a w a ) . T h e e x h i b i t s o n l y p a r t i a l l y r e ­
presented the old and contemporary e m b r o i d e r y of p a r ­
t i c u l a r regions. M o s t of the w o r k s came f r o m K u j a w y ,
whereas the fewest were f r o m t h e Sieradz and C r a ­
cow districts. T h e e m b r o i d e r y f r o m the Łowicz area
w a s p a r t i c u l a r l y s u m p t i o u s i n r e g a r d to t h e f o r m , t e c h ­
n i q u e a n d colours.
Though the competition proved that the embro­
i d e r y s k i l l has not c o m p l e t e l y disappeared i n P o l a n d
i t d i d n o t g i v e a c o m p l e t e o r i e n t a t i o n i n t h e l e v e l of
p r e s e r v a t i o n of t h e t r a d i t i o n a l e m b r o i d e r y o n p a r t s of
t h e f o l k costumes. I t w a s A. Błachowski, t h e d i r e c t o r
of t h e E t h n o g r a p h i c M u s e u m i n Toruń a n d i n i t i a t o r
of t h e c o m p e t i t i o n , w h o o p p o s e d t h i s p o i n t of
view.
A c c o r d i n g to h i m the competition enabled the estima­
t i o n of t h e p r e s e n t l e v e l of t h e f o l k e m b r o i d e r y . I t
also o f f e r e d a n o p p o r t u n i t y t o p r e s e n t t h e s k i l l a n d a b i ­
l i t y of c r e a t r e s , n o t y e t i n c l u d e d i n t h e o f f i c i a l l i s t s ,
i t r e v e a l e d t h e e x i s t e n c e of t h e g e n e r a l l y u n k n o w n , b u t
still v e r y a c t i v e centres of t h e t r a d i t i o n a l e m b r o i d e r y ,
s u c h as Sławsko W i e l k i e i n K u j a w y . F u r t h e r m o r e , i t
r a i s e d i n t e r e s t of m a n y c r a f t s m e n i n t h e a l m o s t d e c l i ­
ned e m b r o i d e r y , a c h i e v i n g t h u s a n i m p o r t a n t d i d a c t i c
aim.
A . B ł a c h o w s k i p o s t u l a t e s p o p u l a r i z a t i o n of e m b r o ­
i d e r y i n r e g i o n a l costumes by o r g a n i s i n g c o m p e t i t i o n s
a n d also b y t e a c h i n g t h e p r i n c i p l e s o f c o m p o s i t i o n , as
w e l l as t h e d e s i g n of t h e o r n a m e n t s a n d a e s t h e t i c c r i ­
t e r i a i n s t e a d of d u p l i c a t i n g t h e s c h e m a t i c p a t t e r n s . H e
also advises to d e f i n e t h e f o r m a l l i m i t s p r e v e n t i n g t h e
authentic e m b r o i d e r y f r o m its optional m o d i f i c a t i o n ,
v u l g a r i z a t i o n a n d d e f o r m a t i o n for t h e a t r i c a l purposes.
I. Ł o p u s z a ń s k a — ROŻA CIOŁCZYK,
SCULPTRESS FROM B Y C Z Y N A

UNKNOWN

Róża Ciołczyk f r o m B y c z y n i a ( K a t o w i c e d i s t r i c t ) is
t h e o n l y w o m a n k n o w n to have occupied herself w i t h
s c u l p t u r i n g . She w a s b o r n i n 1847. S h e e a r n e d h e r l i ­
v i n g b y s e w i n g , e m b r o i d i n g corsets a n d s c u l p t u r i n g :
she h a d no h e r o w n h o u s e h o l d .
She s c u l p t u r e d f i g u r e s o f s a i n t s i n l i m e w o o d a n d
t h e y r a n g e d f r o m t i n y t o s e v e r a l m e t r e ones.
She
used s m a l l k n i e v e s a n d i t w a s her u n c l e , a w h e e l w r i g h t ,
w h o h e w e d b i g g e r b l o c k s f o r her. She based her w o r k s
o n t h e i l l u s t r a t i o n s f r o m t h e p r a y e r b o o k s . She s o l d
h e r s c u l p t u r e s t o B y c z y n a p e o p l e ; some of t h e f i g u r e s
w e r e also p l a c e d i n n u m e r o u s c h u r c h e s a n d w a y s i d e
c h a p e l s i n t h e area.
O n l y f o u r f r o m a m o n g t h e supposed s e v e r a l
do­
zens o f h e r s c u l p t u r e s h a v e been p r e s e r v e d . T h e y . a r e
three big p o l y c h r o m e chapel figures representing in
a realistic m a n n e r Christ, saint John Nepomucen and
the V i r g i n of Rosary.

127

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